Natalie Snodgrass
About
nataliesnodgrass1@gmail.com
Learning to Speak — Book, 2017

On the surface, this piece examines the fad of the Mid-Atlantic accent, an acquired accent popular in the early 20th century. However, through this fad, we can see an examination of what language is and how, below the surface of a thing we all take for granted every day, there is a complex structure to how we form words and sound. This complexity is juxtaposed with the basic nature we associate with learning to speak. This piece was awarded acceptance into the International Society of Typographic Designers, 2017 and featured in Form Design Magazine, no. 278.

Listen to Katharine Hepburn's Mid-Atlantic Accent.

Function Sans — Typeface, 2018

Function Sans is a variable typeface that exists along two axes: width and stress. Drawing on the aesthetics of mid-century modernism and grotesques, the typeface primarily finds its inspiration from Brutalist and Constructivist architecture, which upheld principles such as the importance of materials, the implementation of strikingly bold and heavy aesthetics, and the use of primary shapes.

Remembering the Vatican — Photography Zine, 2018

Remembering the Vatican is a collection of photographs taken by Natalie Snodgrass in the Vatican City in 2018. The Vatican houses some of the most famous and priceless artworks in history and is one of the most visited attractions in the world, resulting in abounding Catholic kitsch and tourists.

Anaheim — Typeface, 2017

Anaheim is a typeface undertaken as part of Independent Contractor work with Google Fonts. Work completed on this project included shape correction and redesign, expansion of character set, expansion to 5 weights, and kerning.

Moloch — Typeface and Specimen, 2017

Moloch is a serif typeface created to communicate the expressive nature of the Beat Generation, and more specifically the writings of Allen Ginsberg. With the main purpose of being used in print for poetry and books, it aims to be honest, modern, and indicative of the Beat counterculture movement. Moloch receives its namesake from an ancient Canaanite deity associated with the practice of child sacrifice. The name derives from combining the consonants of the Hebrew melech (“king”) with the vowels of boshet (“shame”). Ginsberg’s proclamation of “Moloch!” in his 1956 poem Howl is a perfect representation of how the Beat Generation viewed their modern circumstances. The typeface Moloch represents their outcry.Designed in one weight with expanded Latin characters. The specimen’s design references the highly creative independent publications of the 1960s, inspired by mimeography and analog printing techniques of the time.

Building Modularity — Book, Product Design 2017

Building Modularity was created over a week-long workshop with Jessica Barness, exploring the practice of critical making. Based on ideas of modular typography, a stencil for experimenting with modular type across multiple scripts was developed, laser cut, and user tested. Read the accompanying abstract here.

Brutal Estates — Website, 2017

Brutal Estates is a digital archival collection that houses architectural photography of Brutalist UK council estates. Through its content, the website explores the history, architectural value, social significance, and political connotations of these areas. Stark, bold graphics, imagery, and user interactions take inspiration from the forms and styles of the content.

Invigorate TypeCon — Branding, Book, 2016

Invigorate, an identity for TypeCon, explores creative play across the graphic design discipline. The name is about creative invigoration; learning to imbue design work with fun and play. The central theme of the identity and conference programming asks how creativity in design professions is changing, and how experimental making can play a role in creating more meaningful designed objects.

Ai Weiwei — Posters, 2016

Poster series designed for the 2015 Ai Weiwei exhibition at the Royal Academy of Art. Simple graphics and flattened dimensional elements play with the idea of sculpture and three-dimensionality pivotal to Ai Weiwei's practice.

InOurTime.gif — Animated .gifs, 2015

InOurTime.gif is a project completed at Camberwell College of Art with Fraser Muggeridge which comments on the radio program In Our Time with Melvyn Bragg. The intention was that each .gif might help to explain a key concept, introduce an episode, encourage someone to listen to the episode, challenge one of the ideas within, or simply provide a poetic response to the ideas discussed in it. Episodes chosen were: The Decline and Fall of Avant-Garde in the 20th Century, Childhood, Guilt, Dante's Inferno, and Drugs. The complete collection of classwork can be viewed here. Featured on Grafik.

MOCA — Fellowship, 2014-2015

Various works created at the Museum of Contemporary Art Cleveland. Work shown includes design for invitations, event and exhibition branding and advertising, and artist books.

Engage!Cleveland — Branding, 2015

Engage!Cleveland is a Cleveland company focused on career development for young adults. This branding reflects the youth and vibrance the company aims to bring to the employment process. Overlapping letterforms and colors are representative of the connections forged at Engage!Cleveland.

Jane Eyre — Book, 2015

A strong conceptual illustration with a powerful connection to the story of Jane Eyre takes inspiration from the elaborate ornamentation of the Gothic era and dramatic nature of the book. Elegant features also connect further to the book's motifs and the aesthetics of the period.

Morgan Conservatory — Marbled Paper, 2015

Assorted marbled paper work created in Summer 2015 at the Morgan Conservatory of Papermaking, Cleveland, Ohio in an introductory paper marbling workshop conducted by Stephen Pittelkow.

Assorted Letterpress Work — 2015-2017

Assorted letterpress work created between 2015 and 2017 at the Morgan Conservatory of Papermaking and Kent State University.